A Gesture Is A Liquid
29,7 x 42 cm
Editor Melissa Gordon, Daniel Rother
Text Melissa Gordon
Some will win, some will lose, some will sing the blues. Andy Alanis
26 x 17 cm, 174 pages
Editor Vexer Verlag Büro Berlin
Text by Andy Alanis
Portfolio for London and Berlin based photographer Alina Asmus
42 x 50 cm, 158 pages, Slipcase
Edition of 3
With Facebook, Twitter and Co., mobile phone photos and videos are shared millionfold on the Web. They are liked or provoke protest, form communities—and advance the circulation of affects. Accompanying the exhibition of the same name, the publication, Affect Me. Social Media Images in Art, introduces nine artists who work with images originating from social media.
Their focus lies particularly on those images that are shared in the context of political conflicts. The artists reflect how these pictures move and mobilise, beyond their reporting function, and how they navigate on the brittle boundaries between reality and fiction.
Comprehensive essays analyse social media images’ affective dynamics and the role they play in the works of the participating artists. The exhibition and this catalogue were produced in close cooperation between KAI 10 | Arthena Foundation, Düsseldorf and the research project Affective Dynamics of Images in the Era of Social Media at Freie Universität Berlin.
Cliché of a Landscape, Jungle
16,5 x 23,5 cm, 184 pages
Editor Spector Books, Leipzig
Texts by Elke Schwierz & Đinh Thị Nga, Đinh Thị Mùi, Trịnh Hà Ngọc Bích, Björn Wode
English / Vietnamese
Romka Magazine 10
21,0 x 29,7 cm, 190 pages
Romka is a collective photo album — established artists as well as amateurs share the stories behind their most treasured photographs. 10th and final issue of Romka, a project established in late 2008.
The Re’Search (Re’Search Wait’S)
11,8 x 17 cm, 360 pages
German / English
Translation Tobias Haberkorn
In the context of the world premiere of Ryan Trecartin’s screenplay at the Munich Kammerspiele in 2017 the bilingual edition of The Re’Search (Re’Search Wait’S) is described as “a literary work of art from the (near) future”.
A yin and yang of nihilism and boundless meaning
Any Ever comprises seven autonomous but interrelated videos. The work is structured as a diptych, with
Trill-ogy Comp (three movies: K-CoreaINC.K (section a); Sibling Topics (section a); and P.opular S.ky (section ish)) as one side and
Re’Search Wait’S (four movies: Ready, The Re’Search, Roamie View : History Enhancement, and Temp Stop) as the other.
Any Ever’s core material is the perpetual flux of relationships among characters patterned to form constellations of meaning across videos. The individual videos fit together, block, break, orbit, or attract one another in infinite shifting combinations.
Up close, the dynamics between video characters confuse the movies’ connections to space and time, extending the condition of synesthesia from the five senses to the laws of physics. Events that transpire during the videos serve only as backdated markers of possibilities. Each of these possibilities, by definition, could have unfolded in countless other ways. “Cause and effect,” in this world, are simply brackets around these junctures of possible action. The philosophical tenet that one becomes everything one thinks, says, and does is both immediate and absolute in the work; Any Ever’s setting is simultaneity, in which being and becoming, along with everything else, co-exist.
The Re’Search is a tween-aged microcosm of Any Ever. The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait’s vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls.
(Text adapted from writing by Kevin McGarry)
Anna Lea Hucht
Zwischen den Dingen
Kunstmuseum Bonn / Bonner Kunstpreis
Verlag für moderne Kunst
22,0 x 28,5 cm, 136 pages
Editor Anna Lea Hucht, Christoph Schreier
Texts by Stephan Berg, Jens Braun, Miriam Cahn, Christoph Schreier, Vanessa Theodoropoulou
German / English
Visual Identity, Art-Direction
Programming Jack Stevens
032c Magazine Alice Rosati
Oksana Shachko: Counter-Religious Iconography
Photography by Alice Rosati
Visual Identity, Art-Direction
Various Printed Matter and Digital Media
Typeface/ Roma by Dinamo, Mojikyo by Denny Backhaus
Since 2015 – ongoing
Weiss Berlin, which opened in January 2016, is dedicated to the presentation and discussion of artistic work, and its history. The gallery represents international artists, with a focus on North American artists, predominantly from New York and Los Angeles. A major focus of the program lies in the presentation of painting, sculpture, and works on paper. The gallery offers studio residencies to artists in Berlin and collaborates with institutions such as the Villa Aurora Los Angeles to present public programs in connection with its exhibitions.
23,0 x 29,7 cm, 176 pages
Editor Kunstverein Dillingen, Autocenter Berlin
Texts by Konrad Bitterli, Andreas Schlaegel
German / English
Shila Khatami works bring the geometric shapes she encounters in everyday life into focus. The historic constructivists and their failed ambitions to change society to the reemergence of geometry in industrial and product design in the 1950s, and again in the 1980s act as a point of reference.
The artist fascination is build up on the variety and changing role of geometric design elements in today’s daily life.
Using the artists vast image archive as the source of practice the catalogue shows a curated selection of exhibition views, studio views, single reproductions and images Khatami takes of everyday forms she runs into.
The “non pleasing” and odd nature of Khatami’s oeuvre and the matching rawness, immediate and daily nature of fashion magazines worked as an inspiring folio to design the catalogue without any white space, chapters, content page or any other usual means of an artist monograph.
„…the black-and-white checkered flag waved at the finish line of Formula 1 races, for example, looks like it might be an archetype of abstract painting.”
Khatami shoots images as a diary. The catalogue is the first to present these photographs to trace the complete course from the initial compositional inspiration to the origin of the painting to its presentation in the exhibition.
Two texts by Konrad Bitterli and Andreas Schlegel interrupt the coherent image sequence without any warning. The placement of the texts appear to be random. Still the texts pages are chosen to intertwine into the threads and connections of Khatami’s work layed out into the catalogue pages.
Every named work lists the page numbers on which the work appears in the monograph: the reader is asked to flip back and forth. Interrupting the reading itself the reader draws his/her own lines in-between the artist’s work and it’s counterpart.
The title Straight Edge of the catalogue is taken literally. The work specifications and page numbers are printed throughout the bottom of every page and form a straight line. Thus a moment of Khatami’s work is translated into the catalogue: the controlled chance. Collected as an data sheet these specifications are listed on the first pages of the catalogue.
The catalogue is an immerse experience into a 176 page long sequence of mobile phone-, digital camera images and high-tech reproductions. While the place of origin of every image changes again and again with every page between the studio, the gallery space, the shop window and the street, the catalogue draws connections between these different point of origin and thus reveals the threads within Khatami’s work.
Straight Edge offers a comprehensive insight into Shila Khatami’s work by examining the artist imagery and vocabulary. Designed in a phone book-like manner the catalogue discloses the different levels of the creative process into a new way of reading Khatami’s body of work.
TRANSLATION INTO THE GALLERY SPACE
CLAGES, JANUARY 16 – FEBRUARY 20, 2016
Followed by the publications release in Fall 2015 the solo show ‘miscellaneous’ at Clages, Cologne translates and executes the working method of the catalogue into the exhibition space. Here for the first time Khatami shows those threads between her image diary and her own work the catalogue traced down.
Gallery Samy Abraham, December 19, 2015 Paris
Autocenter Berlin, December 12, 2015, Berlin
Photography Claudia Grassl
Videography Dom Jones
Programming Jack Stevens
“We’d like to capture the space between youth and adulthood. That feeling of becoming something, but what it is – is not quite known yet. We’d like to take a lens to the adolescence of southern America: How they go inward, how they navigate the agony and ecstasy of life, and -ultimately- what gives them hope.” (Claudia Grassl)
Catalogue Raisonné (Cliches)
19,5 x 27,0 cm, 274 pages
Texts by Nanne Buurman, Lorenz Just
German / English / French
The title of the project already refers to this impossibility. A catalog raisonné, as the work directory or the detailed description of the complete works of an artist, with the emphasis on the raison – the objective thoughtful – is impossible in itself as a term cliché and as a work directory is usually created at the end of the artistic creativity of an artist or more often, after his death. The Catalogue raisonné claims not only wholeness but also seclusion and objectivity.
Using Inga Kerber’s image archive as the source of practice the catalogue is organized according to classic clichéd categories: landscape, still life, portrait, nude.
The word “cliche” is of French origin and other than it’s German equivalent, it can refer to more than a printing plate or a preconception, for instance also to a photo negative, a print and the act of taking a picture.
The concept for this catalog corresponds to the principle of the work itself: the reproduction of reproductions in form of 3er, 4er or 5er triptychs.
The process of scanning as a reproduction step remains visible, and in turn, produces color shifts or other ‘bad’ characteristics. The process is image-immanent, visible and gains as much importance as the ‘cliches’ itself. Shifts of colour or small flaws that appear in the process of reproduction are not retouched, but rather acknowledged as a quality in themselves.
A tension arises between the image bearing an illusion of space and the image as a reproduction item. Reinforced by the repetition of the prints in the sequence the simple and easy visually detectable image becomes a complex multi-layered experience.
The catalogue follows the typology of a classic French style ‘Catalogue Raisonné’ – a descriptive comprehensive annotated listing of all the known artworks by an artist, standardized and designed the in such a way that they may be reliably identified by third parties. Itself a cliché it refers to the impossible: the objective thoughtful manner.
Interested in the production of images adhering to the process of reproduction as a creative practice, the catalogue draws a contrast to the superficial connotation of repetition as a form of ideological emptiness and boredom.
Catalogue Raisonné (Clichés) is a book that sees reproducibility as an essential mode of images: their circulation leaves traces, in our memories as well as in the image themselves.
f/stop, June 7-15, 2014, Leipzig
Source Photographic Review, Winter 2014/2015
19,9 x 29,7 cm, 84 pages
Graphite shows digital photographs of analogue c-prints by german visual artist Marthe Krüger. These analogue pictures again show different views on still-life-like installations made of monochrome graphite drawings on paper.
The three-dimensional space of the installation is being flattened and made into pictures by means of photography whereas the analogue prints are being treated as objects which are being mounted upon each other.
Consisting of objects, images (photographs and drawings) and sound, every element in Marthe Krüger’s work is both autonomous and combined with other elements. Each work is an attempt to precise the figurative that works with materiality, shapes, inversions, analogies, variations, displacements and perspectives.
Translating the series of the artist’s installations into a digital portfolio the reader follows the continuous change of perspective, light, space and temporality. Both installations and portfolio are designed as accessible images that move with every step of the viewer. With this movement new sightlines are formed, individual aspects disappear or get into focus
Thus the one-dimensional images within the portfolio are mirrored by their three-dimensional ones in space: equivalent to many image options their perspective shifts smoothly.
Print/Out: 20 Years in Print
MoMA New York
24 x 30 cm, 236 pages
Edited by Christophe Cherix
Texts by Christophe Cherix, Kim Conaty, Sarah Suzuki
Design for/with Mevis & van Deursen
Print Out: 20 Years in Print, published in conjunction with an exhibition at MoMA New York, examines the evolution of artistic practices related to printmaking, from a recent resurgence of traditional printing techniques – often used alongside digital technologies – to the proliferation of self-published artists’ projects.
The catalogue features focused sections on ten artists and publishers – Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Aleksandra Mir, museum in progress, Edition Jacob Samuel, Superflex, Robert Rauschenberg, and Rirkrit Tiravanija – as well as rich illustrations of printed projects from the last twenty years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schütte, and Kelley Walker.
John Johnes Is A Pervert (A Play)
21 x 29,7 cm, 58 pages
Compiled, composed and rewritten out of visual and textual sources and personal interviews, the script combines a specific topic in the history of gay cruising with a theatrical setting.
The play takes place in three public restrooms and sets up a story of 14 men that interact at the toilet for the sake of sex.
Setting up a story of 14 men that interact at the ‘tearoom’ for the sake of sex, the play gives in insight in the history, architecture and relevance of public restrooms.
Since almost nothing is spoken on the lavatories, the script consists mostly of instructions and actions for the different roles. In addition to the play and the list of different role characters, the prologue introduces the necessary circumstances of the restroom itself.
Klasse Tina Bara, Academy of Visual Arts Leipzig
10,5 x 18 cm, 344 Seiten
Texts by Tina Bara, Jörg Heiser, Gesine Märtens
Projektionsraum Romantik shows the outcome of a two-year project by Klasse Tina Bara that dealt with an understanding of German Romanticism within a contemporary study of arts. Next to photographs, sculptures and video works the publications contains a series of lectures, biographies and excursions held during the project.
Exhibition catalogue and paperback at the same time, the publication serves the idea to inhabit works and texts as fragments next to each other. At the same time the small format and a distinguished font allows an enjoyable reading.
Using one of the significant typefaces of Romanticism Walbaum, the paperback format recalls the arise of cheap printing productions in the Romantic period.
Authored w/ Christian Isberg
29 x 40 cm, 16 pages
Photography by Christian Isberg, Daniel Rother
The lookbook Blemished shows a collection of three inverted worn pair of jeans. Based on an approach to understand the history of coloring garments and the invention of trousers, the collection inverts the process of dying jeans.
By tracing the dyestuff indigo, which had been lost through the use of the jeans (sitting, bending and keeping objects in their pockets), pigments were used to redraw these patterns on the model’s bodies. This recovery idea of the lookbook is reflected in the title Blemished that is printed with the same loose pigments.
While going through the lookbook, the reader spreads the blue color all over leaving the traces of his usage visible.
w/ Elisabeth Hinrichs, Aileen Ittner
Institut für Buchkunst
21,0 x 29,7 cm, 324 pages
Idea, concept and design of the publication XX- are based on a research project, which analysed the visual appearance of power in specific constructed signs under the conditions of the totalitarian NS-regime and the implementation of these signs on the typewriter as a fundamental communication system at that time.
The book XX- examines, from an artistic point of view, in three chapters FEMALE (FRAU), SIGN (ZEICHEN), MACHINE (MASCHINE) the way in which administration, communication and technology were an elementary condition of the functioning of the annihilation apparatus in the Third Reich.
The three chapters are supplemented by excursuses that deal with the concepts of administration, of human mass behaviour, of guilt as well as of the archive as a space of collective memory and of history.
The specific method of narration in the book is a deliberate uncommented constellation of visual and textual fragments. The textual fragments are composed of contemporary, philosophical, sociological statements as well as statements related to cultural studies and encyclopedic entries. The visual fragments consist of advertising and propaganda images of the thirties/forties as well as NS-files from the Bundesarchiv (German Federal Archives).
The fragmental sources build a tessellated structure. The content arises from specific constellation of statements as well from contrast and analogy of text and imagery.
In this way of dealing with history which makes its documents visible and discloses them for use, the book XX- affords a possible interpretation of historical processes without limiting the reader to a singular and defined annexation. By this structure he or she is requested to take a his/her own position towards history by valuating and analysing the sources independently.
The book XX- is composed as a hybrid of a file and a book. The design adopts technics of archival storage, such as registration, catchwords, numeration and categorization. These elements form a visual structure of reading and orientation throughout the book and combine the textual and visual fragments towards an own ‘fictional’ archival inventory.
The combination of a swiss soft cover, an open spine and a cloth binding add an object-like character to the book. The marking colour orange structures the book, makes connections with regards to its contents visible and highlights individual documents.
Visual language, analysis of imagery, interpretations of signs and symbols as well as constellation, composition and structure are used as design strategies to specify and valuate the material and visual substrate of history. The ‘designed’ book is seen as a possibility to ‘write’ an archive, which acquires, interprets and exhibits history. Therefore haptics, visual and material appearances are important for the personal annexation of the book.
The archive and literature, as constantly changing spaces of writing are sources of the material. XX- is an experiment to read history from a multi perspective point of view. The reader is seen as an equal actor who is confronting his/her knowledge and associations to the composed content.
Zeitgeschichte Tage, May 25-28, 2010, Vienna
Internationales Forschungszentrum Kulturwissenschaften, May 29, 2010, Vienna
Galerie für Zeitgenössische Kunst, February 4, 2010, Leipzig
Best book design from all over the world (Goldene Letter), International competition, 2010, Stiftung Buchkunst, Frankfurt am Main/ Leipzig
Certificate of Typographic Excellence, Type Directors Club, 2009, New York
Sächsischer Staatspreis für Design: Highest award, 2009, Dresden
Förderpreis für junge Buchgestalter, 2009, Stiftung Buchkunst, Frankfurt am Main/Leipzig
“Oh Summer ‘09. In this picture I had just gotten off work (driving for five hours around Switzerland). … We where hanging out there quite some time because Andrea was living there for some time with his fianće. It is a garden house with a really big garden in the city of Biel. The family of the huge house was on vacation, so we used this opportunity to be there and profit from the amazing garden and the crazy pool. Yes that is me. Before I went in, I cleaned the pool. With this thing (left side of the pool). It was full of dust and insects. After cleaning I slowly got in and tried to make this little boat work but it did not! I asked Myriam to take a photo with the flash.”
Mathias Olivier Ringgenberg
Yes that is me
19,5 x 27 cm, 24 pages
Yes that is me contains a selection of photographs by Mathias Olivier Ringgenberg. In order to reflect the personal process of photographing all images are combined with comments written by the photographer.
“!WOW! That’s me curiously. I think that was my first night at my new room at Lepenweg 12d. Look at the sky, so amazing blue. It was just amazing to wake up like that. Why did I take this? I guess for Facebook.”
“Seriously, this dress looked so gorgeous on her. Maybe it’s not super visible here. She was driving the car around the lake. The window was open and the warm wind was refreshing on our faces.”
Stressing a specific time period the texts allows an insight on the author’s biography. The arrangement of images and texts opens up various ways of reading Matthias Ringgenberg’s continuously caption of his daily life throughout the camera.
“It was summer, we met at a lake and I was walking there, the sun was shining and then in a fluorescent way there was something really shining, like blink, really like shining my eyes almost, blending me. And then I asked ‘What is this? This is like gold or what is it?’ And then I saw its a digital camera, a Canon, a really good one. It was lying on the floor. I said ‘What the fuck…’ and nobody was there and I was saying ‘Hello, is somebody here?’ and I was looking around and there was really nobody. So i just took the camera. And that was then my first camera.”
All that Gold Mining was Thirsty Work
Sveinn Fannar Jóhannsson, Edgar Leciejewski, Stefan Guggisberg, Fabian Bechtle, Andrea Legiehn, Stefanie Pretnar, Ulrich Schäfer, Uta Zeidler
23 x 16 cm, 96 pages
Text by Claudia Gülzow
Artist’s book – ten disposable pages for each person are composed as an independent work, explicitly for the sake of a book.